문학교육의 ‘교육적 상상력’

최지현(Cboi Ji-Hyun) 국어국문학회 2007 국어국문학 Vol.- No.147

'Imagination' is one of the most important term as the aim and content of literary education in Korean language education. But in generally its conceptual property and practical significance has been dealt with a matter some carelessly. So to speak. imagination is confirmed its reality with evading to refer to. The main approach. as a etymological. genetical. or taxonomical approach. can make an explanation on imagination. The usefulness of the explanation from each approach on literary education is to show us the value in being of imagination and the developmental process of its power. and furthermore to qualify 'the practicable and safe' boundary of imagination. Those approaches try to take the explanatory object of imagination. what is called 'literary imagination' or 'aesthetical imagination'. But in spite of these approaches. the imagination in literary education still remains to be unexplained. The imagination that teachers have assumed as something educative is defined in that way not by its inherent value but by the fact that it is taught. Moreover the imagination corresponding to the imaginary world of a literary work and the educative imagination are not connected intentionally but tuned with the stream of the times. In this study. I examined the three way of teaching imagination. that is. 'transmission'. 'guidance'. and 'influence'. But any of these methods could not teach 'the educative imagination'. According to my investigation. imagination in literary education would co-evolve between teacher and learner. I called this process' co-evolution of imagination'. In co-evolution of imagination learner's imaginary experience is connected with teacher's imaginary experience not his instruction. In co-evolution of imagination not only learner but also teacher. as the subject of literary experience. become to vary and grow. I suggested four consideration to obtain the educative value of imagination in co-evolutionary experiences as follows; The first. make the environment of learning to imagine the unimaginable. The second. admit the various bypasses of imagination without presupposing the logical consequence of it. The third. permit the so-called 'bad imagination' above the obvious. And the fourth. own the imaginary experiences jointly between teacher and learner. Because it is necessary for a literary teacher to grow his own imaginary experience as a learner.

문학치료는 어떻게 이루어지는가? -개인문학치료 사례를 중심으로-

조은상 ( Cho Eun-sang ) 한국문학치료학회 2020 문학치료연구 Vol.57 No.-

이 논문은 문학치료현장에서 개인문학치료를 진행하며 축적된 경험을 토대로 그 동안 논의된 문학치료 실행의 원리를 정리하고 치료 요인을 구체화하고는 것을 목표로 한다. 이러한 문학치료의 실행 원리와 치료 요인이 문학치료현장에서 어떻게 작용하는가를 실제 사례를 통해 설명하고자 하였다. 이러한 작업은 지속적으로 수정되는 과정을 겪을 수밖에 없으며 현장에서 활용되어 타당성이 인정될 때 자생력을 가진 실천학문으로서 자리를 잡을 수 있다. 문학치료의 현장에는 네 요소가 존재한다. 서사의 재료로서 내면의 이야기를 가지고 있는 참여자 개인, 그를 새로운 서사의 세계로 이끌고 상상하게 하는 문학텍스트, 참여자가 구성한 허구서사, 그리고 이들의 상호작용을 조력하는 문학치료사가 존재한다. 적극적 상상은 참여자로 하여금 문학텍스트를 능동적으로 감상하고 허구서사를 창작하는 과정에서 치료요인으로 중요하게 작용한다. ‘적극적 상상’은 참여자가 문학텍스트에서 파생된 서사를 만들고 경험하며 자기를 확장하고 타인과 세상에 대한 이해의 지평을 넓히는 과정이다. ‘적극적 상상’을 통해 창작되고 구체화된 허구서사는 또 다른 치료 요인인 ‘자기이해’가 좀 더 깊은 차원에서 가능하도록 한다. 문학치료사는 적절한 질문과 활동의 제안을 통해 참여자의 ‘적극적 상상’과 ‘자기이해’를 조력하는 역할을 수행한다. 앞으로 문학치료사가 문학텍스트를 통한 참여자의 ‘적극적 상상’과 ‘자기이해’를 조력하는 방법이 보다 구체화되어야 할 필요가 있다. 또한 개인문학치료 뿐만 아니라 집단문학치료에서도 이를 조력할 수 있는 다양한 활동 방법이 마련되어야 할 것이다. This paper aims to organize the principles of literary therapy practice discussed so far and to clarify the treatment factors, based on the accumulated experience in conducting individual literature therapy at the literary therapy site. I wanted to explain the principles of the practice of literary therapy and how the treatment factors work in the field of literary therapy through real examples. These tasks have no choice but to undergo a process of continuous modification and can be established as self-sustaining practical studies when they are used in the field and are recognized for their validity. There are four elements in the field of literary therapy. There exists a literary therapist and a participant individual who has an inner story as a material for a narrative, a literary text that leads him to the world of new narratives and imagines them and a participant's fictional narrative. “Active imagination” plays an important role as a treatment factor in the process of participants actively appreciating literary texts and creating fictional narrative. "Active Imagination" is a process in which participants create and experience narratives derived from literary text, expand themselves, and broaden the horizon of understanding others and the world. Fictional narrative, created and embodied through "active imagination," makes another treatment factor, "self-understanding," possible at a deeper level. Literary therapist serves to assist participant in 'active imagination' and 'self-understanding' through suggestions of activities and appropriate questions. In the future, it is necessary for literary therapists to be more specific in how to help participants' "active imagination" and "self-understanding" through literary texts. In addition, there should be various ways of activities to help not only individual literary therapy but also group literary therapy.

문학 개념과 영화적 상상력 - 교육현장에서의 시청각자료 활용 연구

강철 한국러시아문학회 2008 러시아어문학 연구논집 Vol.28 No.-

This study introduces the methodology of how to use audio-visual materials for understanding of literary concepts and terms. In addition, this study aims to embody the correlations between literary concepts and audio-visual materials, especially film art, establish a series of systems based on the embodied correlations, and explore new possibilities regarding new teaching methods through those systems. It is helpful in a few aspects to bring an interesting approach to class with audio-visual materials. First, difficult and abstract terms in literature can be directly experienced and felt through eyes and ears. Second, as humanistic knowledge and ideas are presented through audio-visual aids, humanistic media literacy can be promoted with the change of the times. Third, such an approach provides the possibility to explore what to pursue in new applied humanities and at the same time encourages students in their imagination in a new way. Furthermore, it helps students increase concentration on school work and thus improves their learning environment in class. If the one-dimensional use of audio-visual materials is just a simple presentation by screen media or images, required for their two-dimensional use are educators' creative abilities and reliable choices. The two-dimensional use of materials can be incorporated as follows: (1) Both literary terms and concepts are used in the film art. (2) There is a correlation between literary concepts and film-art terms. (3) A literary concept or device takes a new form with an expansion to other arts, especially films. (4) The similarities between literary concepts and film art are used in an active and positive way. As a result, the use of audio-visual materials in the above four different forms appears to suggest a new possibility for new teaching methods. This approach to learning will help students to develop a better understanding of abstract and abstruse literary terms through concrete, sensible images and/or screen media, creating a new educational environment.

경계 위의 인권 : 난민 문학의 인권담론

김경민 법과사회이론학회 2020 법과 사회 Vol.0 No.63

The human rights that we are currently talking about are based on the concept of citizenship created together with the birth of modern states. As this is given only to fellow countrymen, it is limited and exclusive. For such characteristics, as soon as crossing the border, the human rights as citizenship are threatened. The refugees are those beings. This study aims to examine the roles of literary imagination towards the human rights of refugees crossing the border through the novels targeting the refugees in our society like 『One day, a refugee』 and 「Spain Refugee Camp」. Comparing with other academic areas including laws, the biggest characteristics of literature as a place for discourse are the concreteness, individuality, and accessibility. The biggest characteristic of literary imagination is to look into and empathize with the concrete situations and changes of internal feelings of each individual with characteristic name instead of abstract beings whose truth could not be imagined. Also, the literary imagination gives a message about the necessity of preparation and effort to prevent such conflicts and collisions by showing the imaginary look of dystopia, rather than hoping for the best of future society together with refugees. And all of these processes could be easily experienced by everyone in everyday language, which is the biggest characteristic and charm of literary imagination. Thus, when there are more and more literary works imagining and talking about refugees, the width of ‘our’ understanding of and empathy with refugees could broaden, and ‘our’ imagination towards them would become more abundant. This is the future direction of literary discourse of human rights, and this is the role of literary imagination about refugees. 오늘날 우리가 말하는 인권은 근대 국가의 탄생과 함께 만들어진 시민권 개념에 기반하고 있다. 이는 자국의 국민에게만 부여되는 것이기에 제한적이고 배타적인 성격을 띤다. 이런 특성상 국경을 넘는 순간 시민권으로서의 인권은 위협받는다. 난민이 바로 그런 존재들이다. 본 연구에서는 우리 사회에 들어와 있는 난민을 대상으로 한 소설 『어느 날 난민』과 「스페인 난민수용소」를 통해 경계를 넘어선 이들의 인권을 향해 문학적 상상력이 어떤 역할을 하는지 살펴보고자 한다. 법을 비롯한 다른 학문 영역과 비교했을 때 문학이라는 담론장의 가장 큰 특징은 구체성과 개별성 그리고 접근성에 있다. 실체를 상상할 수 없는 추상적 존재가 아니라 고유한 이름을 가진 한 사람 한 사람의 구체적인 상황과 내면의 감정 변화를 들여다보고 공감할 수 있다는 점이야말로 문학적 상상력의 가장 큰 특징이라 할 수 있다. 또한 문학적 상상력은 난민들과 함께 살아가야 할 미래 사회를 장밋빛으로 낙관하는 것이 아니라 오히려 디스토피아적인 모습을 상상해 보여줌으로써, 그러한 갈등과 충돌을 예방하기 위한 준비와 노력이 필요하다는 메시지를 함께 던지기도 한다. 무엇보다 이 모든 과정을 일상의 언어로 누구나 쉽게 경험할 수 있다는 점이 문학적 상상력의 가장 큰 특징이자 매력이다. 따라서 난민을 상상하고 이야기하는 문학 작품이 많아질수록 난민에 대한 ‘우리’의 이해와 공감의 폭은 넓어지고, 그들을 향한 ‘우리’의 상상력도 보다 풍부해질 것이다. 이것이 바로 문학적 인권담론이 나아갈 방향이며, 아직은 빈곤한 난민에 대한 문학적 상상력이 기꺼이 떠맡아야 할 역할이다.

진보적 문학운동의 역경과 갱신 : ‘민족문학작가회의’의 문학운동을 중심으로

고명철 민주화운동기념사업회 2010 기억과 전망 Vol.0 No.23

After the Korean War, the progressive literary circles composed of ‘literary menartists’ in the Korean society, have persistently carried out literary resistance over 30 years against anti-nationalism, anti-people and anti-democracy, despite aesthetic taste and political trait of individual literary men. This can only be an art-historical ‘incident’ of the period that the entire world may pay considerable attention to. From ‘The Council of Writers for Freedom and Practice’ to ‘The Association of Writers for National Literature’ and finally to ‘Writers Association of Korea’, they perpetually advanced perpetual democratization, peninsula-integration and European-centered integration,which are literary movements combined with progressive movements in the Korean society and literary creativity. At this point, progressive literary circles must examine the present shift of acute problem consciousness in the radically transforming modern days and arise from the contradictions, but must not be parsimonious for self-criticism that endeavors to foresee the prospect of the future. As to acquire a new prospect for the progressive literary circles, organization reform and financial stability must be resolved in the structural aspect. In the content aspect, the progressive literary movement has cringed since the 1990s, from which the sense of morality about the ‘unsystematic imagination’ must be cultivated. Furthermore, diverse sorts of literary movements by the progressive literary circles must be substantially stabilized. For that, self-logic of the progressive literary circles must be enlightened about short-and long-term literary guidelines, and practical viewpoints must be elaborately sought.

TV 아동 프로그램과 문학적 상상력

안재희 한국문학교육학회 2001 문학교육학 Vol.8 No.-

We can undrestand how TV children's program stimulate the literary power of imagination to children through the attractive devices in TV children's programs for capturing children's interest. The attractive devices in TV children's programs for capturing children's interest. 1. To give the visual images and happenings which are beyond children's pschology and imagination. 2. To use the suitable music and sound effects with visual images stimulate children's imagination. 3. Diversity of the plot can keep children's interest continuously. 4. To make the viewers(children) to participate in the TV program : to make them to think over something more relating TV program, to compare with others or to develope their behavior. 5. to change the visual movement variously. The above devices in TV children's programs work one another sysmatically, that should stimulate the literary power of imagination while children watch TV.

“You are vindicating your own better sense”

Donghee Om 19세기영어권문학회 2015 19세기 영어권 문학 Vol.19 No.1

This paper argues that Armadale`s apparent affirmation of Christian doctrines through its representation of the protagonist Ozias Midwinter`s renunciation of his superstitious belief in fate reflects less an embracement of Victorian social norms than a strategic demonstration of the positive agency of superstition. The novel`s initial association of the mixed-race Midwinter`s foreign looks with his superstitious nature actually questions the supposed negativity of the connection by reinterpreting superstition as a meaningful faculty. Specifically, Armadale represents superstition as a sensitive play of imagination-”the noblest of the human faculties”-and continually validates its agency. The novel demonstrates how superstition can be productively understood as a critical component of literary imagination: Midwinter`s superstitious interpretations of the causality between the key events of the novel (most of which hit the mark) illustrate “literary” imagination that both inform the novel`s plot and anticipate the protagonist`s successful literary career. The correspondence creates a sensation that invites the readers to put their own imagination into play, thereby conducing toward drawing the readers themselves into a superstitious frame of mind. Moreover, the paper argues that such operation of Midwinter`s superstition mirrors the proceedings o Collins`s own literary imagination during the novel`s serialization in Cornhill Magazine. As the novel`s endorsement of the agency of superstition informs the writings of both its protagonist and its author, it reflects the latter`s belief in the sensation novel as an essential literary form in Victorian culture. Furthermore, it complicates the boundary between Christian and superstitious beliefs by showing how the former is pre-conditioned by the latter.

“You are vindicating your own better sense”:Superstition and Literary Imagination in Armadale

엄동희 19세기영어권문학회 2015 19세기 영어권 문학 Vol.19 No.1

This paper argues that Armadale’s apparent affirmation of Christian doctrines through its representation of the protagonist Ozias Midwinter’s renunciation of his superstitious belief in fate reflects less an embracement of Victorian social norms than a strategic demonstration of the positive agency of superstition. The novel’s initial association of the mixed-race Midwinter’s foreign looks with his superstitious nature actually questions the supposed negativity of the connection by reinterpreting superstition as a meaningful faculty. Specifically, Armadale represents superstition as a sensitive play of imagination—”the noblest of the human faculties”—and continually validates its agency. The novel demonstrates how superstition can be productively understood as a critical component of literary imagination: Midwinter’s superstitious interpretations of the causality between the key events of the novel (most of which hit the mark) illustrate “literary” imagination that both inform the novel’s plot and anticipate the protagonist’s successful literary career. The correspondence creates a sensation that invites the readers to put their own imagination into play, thereby conducing toward drawing the readers themselves into a superstitious frame of mind. Moreover, the paper argues that such operation of Midwinter’s superstition mirrors the proceedings of Collins’s own literary imagination during the novel’s serialization in Cornhill Magazine. As the novel’s endorsement of the agency of superstition informs the writings of both its protagonist and its author, it reflects the latter’s belief in the sensation novel as an essential literary form in Victorian culture. Furthermore, it complicates the boundary between Christian and superstitious beliefs by showing how the former is pre-conditioned by the latter.

1960~70년대 문인의 해외기행문에 나타난 ‘세계․네이션․ 교양’의 탈구축과 문화정치 -이어령, 정연희, 최인호의 해외기행문을 중심으로-

추선진 우리문학회 2024 우리文學硏究 Vol.- No.81

이 논문은 세계․네이션․교양의 이데올로기가 교차하는 지점으로서 해외기행문에 접근하는 한편, 이어령과 정연희와 최인호의 해외기행문을 통해 탈식민 시기 한국적 정체성을 구성하는 세계․네이션․교양의 이데올로기적 장치에 균열을 일으키고 비판적 굴절을 만드는 문학적 상상력의 면모를 살펴본 연구이다. 이어령의 해외기행문은 비판적 인문학자가 바라본 서양과 한국의 비교문화론이다. 이어령은 시종일관 비판적 관점에서 서양의 정신적 본질을 탐구하며, 서양문화와 다른 한국인의 기질과 정체성, 문화적 개별성을 확인한다. 이어령에 따르면 서양은 관념 속에 있는 피상적인 환상에 불과한 것이다. 이어령은 서양의 문명이 정복자의 문명이라고 비판하며, 한국의 문화적 정체성은 이러한 서구 문명과의 관계를 비판적으로 재정립함으로써 구성되어야 한다고 말한다. 정연희의 해외기행문은 소설 작품에서 구축한 현대 문명에 대한 휴머니즘적 성찰을 바탕으로, 서구적 근대화를 추종하는 당대의 세계주의와 교양주의를 성찰한다. 정연희에 따르면, 한국은 서구의 모방 국가이다. 한국이 추진하는 산업화를 통한 경제성장은 맹목적인 근대화의 한 과정이며, 근대화란 곧 서구화와 일치하는 것이기 때문이다. 하지만 정연희가 바라본 근대화는 전쟁을 통해 이익을 추구하고 인간성을 쇠락시키는 파괴적인 문명에 지나지 않는다. 정연희는 자기만의 독자적인 시선으로 문명화에 담긴 서구화의 패권주의를 비판적으로 성찰한다. 청년문화의 기수로서 최인호는 이어령이나 정연희와 달리 교양을 통한 세계와 한국문화에 대한 성찰을 부각하기보다는 자유와 평화에 기반한 인간성 회복 운동의 실천으로서 문학적 상상력의 실현을 강조한다. 최인호의 해외기행문은 세계 각국의 청년문화운동을 접하고, 다양한 인종의 청년들과 교류하며, 사회를 변화시키는 변혁의 힘으로서 젊음의 문화를 주목한다. 요컨대 최인호에게 서구의 우월성을 극복하는 방법론은 청년문화의 에너지이며, 그것은 곧 문학적 상상력이 꿈꾸는 미래를 현실화하는 것에 있다. 문인의 해외기행문에 나타나는 문학적 상상력은 세계-네이션-교양의 결합을 탈구시키며 새로운 주체성을 모색하는 방향으로 나아간다. 이어령은 보편으로서의 세계주의와 교양주의를 심문하는 탈식민적 상상력을, 정연희는 다른 보편을 통해 세계주의와 네이션을 허구적 담합을 비판하는 탈서구적 상상력을, 최인호는 교양과 세계의 위계화된 연결을 무력화하는 탈권위적 상상력을 보여주며, 한국의 문화적 정체성이 독자적인 개별성을 획득할 수 있는 길을 탐구한다. 이처럼 문인의 해외기행문은 1960~70년대 한국적 근대성의 대안적 가능성의 모색을 보여준다는 점에서 의의가 있다 할 것이다. This study examines the components of literary imagination that create cracks and facilitate critical refraction in the ideological devices of the Cosmopolitanism-Nationalism-Bildungworld, through the travel reports of Lee Eo-ryeong, Jeong Yeon-hee, and Choi In-ho during the world travel period. It approaches the world travel period as a point where the ideologies of the Cosmopolitanism-Nationalism-Bildung intersect. Lee Eo-ryeong’s World Travel Journal compared Western and Korean cultures through the lens of a critical humanist. Lee Eo-ryeong explored the spiritual essence of the West from a critical perspective across time, and confirmed the temperament, identity, and cultural individuality of Koreans as distinct from those from Western cultural backgrounds. According to Lee Eo-ryeong, the West is nothing more than a superficial illusion in the form of an idea, calling Western civilization the civilization of the conqueror, and said that Korea’s cultural identity should be constructed by critically redefining relations with Western civilization. Jeong Yeon-hee’s travelogue reflects on the cosmopolitanism and liberalism of the time that followed Western modernization based on a humanistic reflection on modern civilization established in her novel. According to Jeong Yeon-hee, Korea is a copy of Western countries because economic growth through industrialization promoted by Korea is a process of blind modernization, which is consistent with Westernization. However, modernization, from Jeong Yeon-hee’s perspective, is destructive, pursues profits, and deteriorates humanity through war. Jeong Yeon-hee critically reflected on the hegemony of Westernization contained in civilization from her perspective. As a flag bearer of youth culture, Choi In-ho emphasized the realization of literary imagination as a practice of a movement to restore humanity based on freedom and peace, rather than emphasizing reflection on the world and Korean culture through liberal arts, unlike Lee Eo-ryeong and Jeong Yeon-hee. Choi In-ho’s overseas travel literature focuses on youth culture as a transformative force that encounters movements worldwide, interacts with young people of various races, and changes society. Choi In-ho considered the energy of youth culture a means to overcome the superiority of the West, which can be realized through a future envisioned by literary imagination. The literary imagination that appears in the writers’ world travel period dislocates the combination of the Cosmopolitanism-Nationalism-Bildung and pursues a new subjectivity. Lee Eo-ryeong’s post-colonial imagination to interrogate cosmopolitanism and liberalism as a universal, Jeong Yeon-hee’s post-Western imagination to criticize cosmopolitanism and the nation through other universities, and Choi In-ho’s post-authoritative imagination to neutralize the hierarchical connection between culture and the world, explores how Korea’s cultural identity can gain individuality. The writer’s world travelogue is significant as it shows the search for alternative possibilities for Korean modernity in the 1960s and 1970s.

학생의 문학적 상상력 발현을 위한 교사의 도덕적 리더십에 관한 연구

진솔(Jin Sol) 학습자중심교과교육학회 2020 학습자중심교과교육연구 Vol.20 No.19

This study is aimed at exploring the moral leadership of teachers for the expression of students literary imagination. Literary imagination is the forming power of dynamic mental representation that appears within the reader in the process of reading and symbolizing the language in the work. An understanding of a literary work symbolized through language must precede a student to imagine, but the environment or context that can manifest it is also important. This study focused on the teacher context and discussed the leadership of teachers. Moral leadership is something that complements the limitations of traditional leadership, and a leader with moral leadership has moral authority and shares values and visions with members, ultimately leading to positive cultural changes in the community. The role of teacher was discussed in relation to teacher s moral leadership exercise for student s literary imagination in the classroom. First, it aims to sophisticate the imagination by transferring responsibility from teacher to student. Second, it allows students to express their literary imagination linked to their experiences on the premise of teachers empathy and belief. Third, through internalization of teachers ethics, readers can also express their imagination based on moral principles. In this regard, the aspects of literatur 본 연구는 학생의 문학적 상상력 발현을 위한 교사의 도덕적 리더십을 탐구하는데 그 목적이 있다. 문학적 상상력이란 ‘작품 속 언어를 읽고 상징화하는 과정에서 독자 내면에 나타나는 역동적인 심적 표상의 형성력’이다. 학생은 상상하기 위해 언어를 통해 상징화된 문학 작품에 대한 이해가 선행되어야 하지만, 이를 발현시킬 수 있는 환경 또는 맥락 역시 중요하다. 본고에서는 교사 맥락에 초점을 두었으며 교사가 가지는 리더십에 관해 논의하였다. 도덕적 리더십이란 전통적 리더십의 한계를 보완하는 것으로, 도덕적 리더십을 가진 리더는 도덕적 권위를 가지며 구성원과 가치와 비전을 공유해 궁극적으로 공동체의 긍정적인 문화 변화를 이끌어낸다. 교실 속에서 학생의 문학적 상상력 발현을 위한 교사의 도덕적 리더십 발휘와 관련하여 교사의 역할을 논의하였는데 첫째, 교사에서 학생으로 책임 이양을 통해 상상력의 세련을 지향한다. 둘째, 교사의 공감과 믿음을 전제하여 학생이 경험과 연계한 문학적 상상력을 표현하게 한다. 셋째, 교사의 윤리 내면화를 통해 독자 역시 도덕적 원리에 기반하여 상상력을 발현할 수 있도록 한다. 이와 관련하여 실제 초등학교 교사와의 면담을 통해 문학 수업의 양상을 분석하였다.